UNCHARTED 4: CREATIVE COMMUNICATION

In this essay, I will present specific ways Uncharted 4 uses creative communication. I’ve played the game to create an accurate subjective and analytical argument on the use of Uncharted 4's creative communication. The game offers a rich tapestry of storytelling and gameplay mechanics that engage players on multiple levels.

Creative Communication in Uncharted 4

Environment

The character navigates the environment through multiple avenues. Numerous cliffs to climb and places to explore are indicated by a yellow hue or white value. NPCs (Non-Playable Characters) vary depending on locations, either breathing life into the cityscape or creating seclusion in wide-open vistas (UK Essays, 2013).

Uncharted 4 combines enclosed set-pieces with expansive environments like the Madagascan savannahs (Tyrer, B., 2017). These areas provide multiple routes for engagement. Players can hide in grass, swing from grapple points, or use moveable crates to approach scenarios differently (Tyrer, B., 2017). The character embodies the visual language of an "aged adventurer who has retained his athletic prowess." This design allows players to subconsciously understand the character's limitations through visual signifiers.

The game employs a combination of processes to enhance players' cognition and emotional investment. It uses three methods: visceral, behavioural, and reflective processing. These methods create an engaging experience, allowing characters to respond immediately to situations based on players' observations. The repetitive signifiers and activities establish an understanding of the game's core features. This knowledge empowers players to make conscious decisions about their potential uses during gameplay.

Combat is fluid, and puzzles inject innovation and immersion. Nathan’s journal provides players with cues on how to interact with puzzles (Tyrer, B., 2017). Whether solving a riddle to open a secret door or navigating a seesaw death trap, these activities break the frantic combat loop (Tyrer, B., 2017; O’Brien, L., 2016). Although components of gameplay may seem repetitive, they are manipulated by the environment or new mechanics introduced to players, providing different outcomes in similar situations.

The game is single-player, following a linear narrative that ends with the same outcome. However, I wouldn’t consider the narrative predictable. You might innocently tie a rope around a tree, just like you’ve done several times before, but suddenly find yourself hanging off a cliff. This game consistently keeps you on your toes. As Roland Barthes states, “what matters is not what it thinks but what it sees,” and this quote perfectly describes Uncharted 4's premise. The characters' actions, such as optional conversations and dynamic AI, keep me invested in the experience.

The game appeals to curiosity by providing multiple avenues to the same destination, giving the illusion of choice. Activities and the narrative do not require prior knowledge; in fact, they promote exploration. I find this exploration appropriately rewarding, frequently providing cues to solve key dilemmas blocking your path.

Protagonist

Vladimir Propp’s structural analysis of folklore describes the linear path a story or character may follow. His analysis allows readers to identify components that follow a sequence or sphere of action. Using Propp’s analysis, I will outline the characters' spheres of action:

• The Hero: Nathan Drake

• The Donor: Elena Fisher

• The Villain: Rafe Adler

• The Helper: Victor Sullivan

• The Princess: Samuel Drake

• Dispatcher: Evelyn

• The False Hero: Samuel Drake

  
  

Each character fits within a sphere of action but can also embody attributes of other spheres. Understanding this helps us see how the narrative and experience are affected by the attributes and roles the characters play. Although they have predetermined roles, Roland Barthes suggests, “The function of the wrestler is not to win; it is to go exactly through the motions which are expected of him” (Barthes, R., 1972). This quote connects to Uncharted 4 due to Nathan's perpetual struggles, such as saving his brother, lying to his wife, fighting mercenaries, and seeking treasure. These stressful events are enhanced by the visual gestures and emotive dialogue used. Wrestling and games share similarities, immersing the audience regardless of the outcome being predetermined. The thrill of the performance remains the main focal point.

The protagonist’s movement is a core mechanic, providing natural feedback for collisions with environments, AI (Artificial Intelligence), and objects (Lavoy, B., 2015). The mechanics are complemented by animations such as climbing, swimming, combat, and the cover system (UK Essays, 2013). Cover has a durability indicated through degrading assets (Lavoy, B., 2015). The combat system includes a small number of quick-time events that indicate opportune moments to counter or defend against incoming attacks, sustaining players' attention in combat scenarios (Tyrer, B., 2017).

Time invested in the game revolves around parkour, vehicular traversal, combat, and collectibles. This time feels like a worthy contribution due to the unique outcomes that vary with each play session, providing freedom of choice (UK Essays, 2013). Observing Ian Bogost’s formula for fun, the game meets most, if not all, parameters, offering an immersive experience. As Ian states, “Fun comes from the attention and care you bring to something that offers enough freedom of movement, enough play that such attention matters” (Bogost, I., 2014). Because of the varying outcomes, players feel like active participants, adding substance to their play sessions.

Conclusion

I believe I have illustrated and visually referenced the specific ways Uncharted 4 uses creative communication. I provided information on methods to enhance the player experience, including visual language, processing methods, investment versus rewards, and the core and shell components. These elements significantly affect our perception of the functionality and aesthetics of game segments.

Bibliography:

1. Tyrer, B. November 2017. Uncharted: The Lost Legacy. Issue 141. PlayStation Official Magazine - UK, pages 90 – 91.

2. Lavoy, B. July 2015. Uncharted 4: A Thief’s End First Look. online]. Available from: **[https://www.primagames.com/games/uncharted-4/feature/uncharted-4-thiefs-end-first-look
   [Accessed 11 November 2017].

3. UK Essays. November 2013. Visual Style And Elements Of Gameplay Video Games Essay. online]. Available from: **[https://www.ukessays.com/essays/video-games/visual-style-and-elements-of-gameplay-video-games-essay.php?cref=1
   [Accessed 8 November 2017].

4. O’Brien, L. May 2016. IGN. Uncharted 4: A Thief’s End Review. online]. Available from: **[http://uk.ign.com/articles/2016/05/11/uncharted-4-a-thiefs-end-review
   [Accessed 8 November 2017].

5. Bogost, I. December 2014. WIRED by Design: A Game Designer Explains the Counterintuitive Secret to Fun. online]. Available from: **[https://www.youtube.com/watch?v=78rPt0RsosQ&index=9&list=PL45HpgHd0vKYY4FNoZUo-P88zinmNcbKu
   [Accessed 13 November 2017].

6. Barthes, R. (1972). Mythologies. Les Lettres Nouvelles. France.

7. Isbister, K. (2016). How Games Move Us: Emotion by Design. Playful Thinking. Cambridge, Massachusetts.